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Oxford Handbook of Music Psychology (Oxford Library of Psychology) Hardcover – 4 Dec 2008

4.0 out of 5 stars 3 customer reviews

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Product details

  • Hardcover: 600 pages
  • Publisher: OUP Oxford (4 Dec. 2008)
  • Language: English
  • ISBN-10: 0199298459
  • ISBN-13: 978-0199298457
  • Product Dimensions: 24.9 x 4.1 x 17.3 cm
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 1,296,723 in Books (See Top 100 in Books)
  • See Complete Table of Contents

Product Description


The Oxford Handbook of Music Psychology is broad in conception, clear in purpose, thorough in coverage of all relevant areas, and excellent in style and presentation...[it] is to be recommended without hesitation. (Classical Net Review)

About the Author

Susan Hallam is Professor of Education at the Institute of Education, University of London and currently Dean of the Faculty of Policy and Society. She pursued careers as both a professional musician and a music educator before completing her psychology studies and becoming an academic in 1991 in the department of Educational Psychology at the Institute. Her research interests include disaffection from school, ability grouping and homework and issues relating to learning in music, practising, performing, musical ability, musical understanding and the effects of music on behaviour and studying. She is past editor of Psychology of Music, Psychology of Education Review and Learning Matters. She has twice been Chair of the Education Section of the British Psychological Society, and is currently treasurer of the British Educational Research Association, an auditor for the Quality Assurance Agency and an Academician of the Learned Societies for the Social Sciences. Ian Cross teaches at the University of Cambridge where he is Reader in Music & Science, Director of the Centre for Music & Science and a Fellow of Wolfson College. He has published widely in the field of music cognition. His principal research focus at present is on music as a biocultural phenomenon, involving collaboration with psychologists, anthropologists, archaeologists and computational neuroscientists. His research explores the biological and cultural bases for human musicality, in particular, the mechanisms underlying the capacity for achievement and maintenance of inter-individual synchrony of behaviour, those underlying the experience of meaning in engagement with music, and those involved in the cognition and perception of multi-levelled structure in both music and language. Michael H Thaut received his masters and PhD in music from Michigan State University. He is also a graduate of the Mozarteum Music Conservatory in Salzburg/Austria. At Colorado State University he is a Professor of Music and a Professor of Neuroscience and serves as Executive Director of the School of the Arts and Chairman of the Dept of Music, Theater, and Dance. He has also directed the Center for Biomedical Research in Music for 12 years. Dr Thaut's internationally recognized research focuses on brain function in music, especially time information processing in the brain related to rhythmicity and biomedical applications of music to neurologic rehabilitation of cognitive and motor function. He has received both the National Research Award and the National Service Award from the American Music Therapy Association. He is an elected member of the World Academy of Multidisciplinary Neurotraumatology and in 2007 he was elected President of the International Society for Clinical Neuromusicology.

Customer Reviews

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Top Customer Reviews

Format: Hardcover
As a professional psychologist and keen semi-professional graduate-musician, I was really excited about this recent publication, and chose it over the Diane Deutsch (1989) volume. I was soon to be disappointed.
Perhaps a better title for this book would have been "..... Handbook of the Cognitive-Neurological Psychology of Music", for that is what this collection of articles is about. Not all psychology is just about brain-body functioning. Even as a practising child psychologist, I found this book a very hard read. While the book is undoubtedly authoritative, I feel it fails on two particular counts: its very dry academic language, which tends to lose the reader in such an overview tome, and its superficiality when discussing very complex concepts or constructs - such as the phylogeny and ontogeny of music at the prenatal stages, as but one such example amongst many. Another area of failure is its vain attempt to explain music psychology as a social psychological phenomenon. The language is altogether inappropriate, for to explain social phenomena one should use socially communicative language.
I feel the tome lacks a clear direction except to propagate clinical/cognitive literature that explains "within-person" functioning. So, if you are interested in how music influences relationships, group dynamics and identities, purchasing behaviour, work behaviour, learning (eg the oft-quoted but recently challenged "Mozart Effect"), healing/health promotion, "flow effect", "peak experience" and other such phenomenologies (ie music psychology in social context), then this volume is definitely not for you. If you are a psychology graduate who may be interested more in the clinical-cognitive-psycho-neurobiological functioning of human beings, then this would be a good introduction for you.
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Format: Hardcover Verified Purchase
I'm a postgraduate psychology student who also has a doctorate in musicology, and have found this book invaluable as a starting point for exploring current music psychology. The book is an overview, with a number of leading music pyschologists contributing: its breadth means that there simply isn't the space to go into any great depth, but there are plenty of references and pointers for follow-up reading. It is dry and academic in parts and there are a lot of assumptions about the reader's existing knowledge, which is slightly problematic for an area that attracts attention from a number of academic disciplines (I wonder how many readers are as au fait with a neapolitan 6th as a P600). However, for someone at 3rd year undergraduate level or above wanting an introduction to the many different areas of music psychology, I don't believe there is anything comparable.
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Format: Paperback Verified Purchase
The book is a little dated but otherwise excellent.
this is for music or music psycholofy students and possibly academics.
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